5 Games To Play After Kingdom Come: Deliverance 2
Few open-world story-driven experiences compare to Red Dead Redemption 2. I will stand by the Wild West tale as one of the most perfect forms of entertainment. When you think about it (not too deeply), there are a lot of similarities between protagonists Henry and Arthur. They both ride horses, for example, and sometimes, they even fight bandits. But more importantly, it's a tale that sticks with you long after the credits roll—the type of experience you tell your non-gaming parents about at a family dinner.
In my opinion, the Kingdom Come: Deliverance series' combat is one of the most challenging aspects. It's frantic, complex, occasionally rewarding, but primarily annoying. That said, if you can't get enough one-on-one combat against the NPC bandits and knights wandering the world of Bohemia in Kingdom Come: Deliverance 2, Mordhau proves an excellent battleground to refine your combat capabilities further. It offers a similar fighting style, with directional-based strikes, and since you're facing real-world players you can grow accustomed to frenzied fighting styles relatively fast.
It's the most obvious choice when discussing what to play after Kingdom Come: Deliverance 2. If you have the time, finishing up or starting the first game will allow you to better understand the sequel's story, the world of medieval Bohemia, and the characters themselves, many of whom return for the sequel, such as Henry and Sir Hans Capon. All that said, KCD requires a significant investment, as it can take up to 100 hours to finish. I know, I know! Who didn't play the first game before beating the second? Me, it's me.
Another title with similar combat, but a bit more depth than Mordhau,is Mount & Blade II: Bannerlord, the long-awaited action RPG from TaleWorlds Entertainment. With similar, albeit more forgiving, directional combat, Bannerlord thrusts you into a vast sandbox set in a fictional medieval land full of knights and lords, with trade caravans to raid and men and women to woo. It's the type of open-world experience that doesn't hold your hand, allowing you to craft a story and rise to legendary status.
If you enjoy a game like Kingdom Come: Deliverance 2 because of its setting more than its gameplay, then Crusader Kings 3 offers a revisionist take on the medieval ages. You choose your noble house, build a dynasty, form alliances, gather troops, and send them to raid or conquer your neighbors, while making decisions in pop-up events that change the course of your life and your family. It's the perfect medieval game for those who prefer medieval times' strategy, romance, and politics more than the nitty-gritty blood-n-mud.Kingdom Come: Deliverance 2 launched February 4 on PC, PlayStation 5, and Xbox Series X|S. It is a direct sequel to the first game, continuing the story of Henry as he explores Bohemia, finding his path in life following the devastation of his village.
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Yahoo
5 hours ago
- Yahoo
What kids don't want you to know about Gen Alpha culture
This story originally appeared in , Vox's newsletter about kids, for everyone. . As long as youth culture has existed, adults have been mystified, perplexed, and even threatened by it. At least once a week I think about the scene in A Hard Day's Night, a film released in 1964, in which the Beatles are being interviewed by clueless older journalists. ('What would you call that hairstyle you're wearing?' 'Arthur.') But even seen against the long history of grown-ups not getting it, the culture of Gen Alpha — kids born between about 2010 and 2024 — feels especially hard to pin down. It is famously fragmentary — the monoculture is dead, and if adults aren't all watching the same shows anymore, a lot of kids aren't even watching shows. They're watching short-form video on their phones, sources of entertainment (or personality erosion) so limitless that every kid in the world could, in theory, be consuming a different piece of content right now. Given all this, every time I hear a claim like 'Gen Alpha doesn't laugh at farts,' I'm tempted to ask whether Gen Alpha collectively laughs at — or cries over, or has any sort of aesthetic experience with — anything. Is there a mass culture for kids and teens today? And if so, where does it come from, and what does it look like? When I posed these questions to people who study kids and culture, the answer I got was that while young people probably aren't watching the same things, a lot of them are craving similar experiences from the culture they consume, whether it's movies, YouTube, or, increasingly, video games. They want to feel safe, they want a sense of community, and they really, really want adults to leave them alone. Kids 'are still participating in culture,' said BJ Colangelo, a media theorist and analyst who has spoken about Gen Alpha trends. 'They just are making their own, and they're choosing not to share it with the rest of us.' Kids don't need mass media anymore Young people have never enjoyed being told what to like, and there's always been something organic and chaotic about their engagement with pop culture. At the same time, previous generations did have cultural arbiters and gatekeepers who controlled, to some degree, what they could access. For millennials and Gen Xers, 'magazines, MTV, and the radio were major outlets that were promoting and selling us what 'cool' is,' Colangelo told me. Young people could accept or reject what they were offered, 'but even with that choice, it was still being curated by editors, producers, DJs.' That was also true of culture aimed at younger kids, whose options were circumscribed by conglomerates like Nickelodeon and Disney. Parents also had a lot of involvement in — and veto power over — what kids watched. Your whole family could see what you watched on the TV in the living room, and parents could ban, or at least sneer with disapproval at, shows they found unwholesome. (I can't be the only millennial who looked forward to sleepovers as a time to watch R-rated movies after the grown-ups went to bed.) Today, media companies still try to manufacture hits, and sometimes they succeed. But kids no longer need to go through those companies to get their entertainment. And while parents can set screen time limits and put controls on children's phones or iPads, kids are notoriously great at getting around them. The result is a cultural landscape dominated by social media, one in which nearly half of younger kids' viewing time takes place on YouTube, TikTok, or other social platforms. You could certainly think of social media trends as shared cultural experiences within that landscape — indeed, many of the touchstones of youth culture that have received mainstream media coverage in recent years have been trends that managed to spill over into offline life, like the phenomenon of young people wearing suits to the film Minions: The Rise of Gru (incidentally, this trend appears to have been promoted by Universal Pictures, the studio that distributed Minions). Trends can be shared cultural experiences like the popular shows or movies of previous generations. The difference is that there are so many of them, and they pop up and flame out so quickly, said Jenna Jacobson, an associate professor of retailing at Toronto Metropolitan University who studies social media. 'Young people are experiencing a series of these micro mass events, which could be a sound or a meme, or a particular brand.' At the same time, 'social media allows many micro-communities to exist, which means that not everybody is seeing the same thing at the same time' — until something becomes big enough that it permeates everyone's feed, Jacobson said. Some of those big trends come from movies like Minions or Barbie, but a lot of them come from video games. It's no accident that A Minecraft Movie, one of the most popular films with Gen Alpha to date, is based on a massively popular game. In a survey of 10- to 24-year-olds last year by the Center for Scholars & Storytellers at UCLA, only 12 percent reported not playing games. 'More than a lot of things, it is a unifying culture,' Yalda T. Uhls, founder and CEO of the center, told me. 'When my kid, at 21, was hanging out with a 6-year-old, they were playing Minecraft together.' What kids want from media now Young people today crave a sense of connection, Uhls said: 'In a world where kids are not allowed to run outside, there aren't as many spaces for them, or they're overscheduled, gaming is a place they can gather.' It's no surprise that a generation of kids who spent formative years in lockdowns and remote school would feel starved for community. To me, another desire was more striking: The top goal for Gen Alpha and Gen Z, according to research by the Center for Scholars & Storytellers, is to feel safe. But if part of what kids want is to be safe from us, maybe we need to pay attention to that. This took me aback a little because a lot of what I think of as archetypal Gen Alpha content — Skibidi toilet, for example — can feel jarring, choppy, and a little scary. But Uhls points out that young people in 2025 are facing down climate disaster, rampant inequality, and active shooter drills at their schools. For them, gaming, and media in general, can be a source of comfort. And kids don't just want to be safe from the very real threats to their lives and livelihoods, Colangelo told me. They also want to be safe from the constant evaluation and judgment of adults. Gen Alpha 'has come of age in the social media surveillance state that we are all suffering under,' Colangelo said. 'So many of them already have a digital footprint that they never consented to because their parents posted them online when they were babies.' They're drawn especially to sandbox games and open-world games like Roblox and Minecraft because those games allow them to 'make their own realities and mini games and communities away from the watchful eye of Big Brother,' Colangelo said. 'It allows them to have something that they are in complete control over.' A Minecraft Movie was such a success not just because it was based on a game, but because it was truly for kids, not for their parents. 'So much of the mainstream culture right now is based on nostalgia,' Colangelo said. 'It's stuff their parents, their siblings, or even their grandparents like. Minecraft is very much their thing.' Adults often deride young people today for craving safe spaces, being afraid of anything new, different, or difficult. But if part of what kids want is to be safe from us, maybe we need to pay attention to that. I don't want to be too much of a Pollyanna — kids, like adults, are certainly capable of wasting time watching AI slop or its equivalent (don't ask me about the video my kid loves in which a toddler is inexplicably stung by a caterpillar). It's also the case that if kids are spending all their time within their microcommunities or on their highly-curated feeds, they're less likely to discover new artists or ideas, Colangelo pointed out. At the same time, a lot of kids' media habits can be understood as bids for autonomy, Colangelo said. They're really 'against things that are being force fed to them.' That's scary for adults who, sometimes understandably, want some say over what kids see and hear and play. But it's also a message about what we've taken away from a generation of kids, and what we might need to give back. What I'm reading The Department of Health and Human Services has said that its upcoming second MAHA report will include solutions for improving kids' health. But a draft report obtained by the New York Times does not include restrictions on pesticides, which experts say are necessary to reverse the increase in children's chronic disease. Oklahoma will require teachers from California and New York (and only those two states) to take a certification test showing they know 'the biological differences between females and males,' among other topics, before they can teach in Oklahoma. (The state's superintendent of schools previously announced that all teachers would need to incorporate the Bible into curricula.) Wired asked a group of kids what they think of AI. My favorite is Leo Schodorf, who tries to be polite to ChatGPT because, 'if they take over the world, and they're destroying everyone, then maybe they'll be like, this guy says please and thank you.'My little kid has been enjoying Zog, about a dragon who becomes an ambulance, kind of. Also, journalist Alyssa Rosenberg has started a new Substack all about children's books, and you can check it out here. Solve the daily Crossword
Vox
7 hours ago
- Vox
What kids don't want you to know about Gen Alpha culture
is a senior correspondent for Vox, where she covers American family life, work, and education. Previously, she was an editor and writer at the New York Times. She is also the author of four novels, including the forthcoming Bog Queen, which you can preorder here This story originally appeared in Kids Today, Vox's newsletter about kids, for everyone. Sign up here for future editions. As long as youth culture has existed, adults have been mystified, perplexed, and even threatened by it. At least once a week I think about the scene in A Hard Day's Night, a film released in 1964, in which the Beatles are being interviewed by clueless older journalists. ('What would you call that hairstyle you're wearing?' 'Arthur.') Given all this, every time I hear a claim like 'Gen Alpha doesn't laugh at farts,' I'm tempted to ask whether Gen Alpha collectively laughs at — or cries over, or has any sort of aesthetic experience with — anything. Is there a mass culture for kids and teens today? And if so, where does it come from, and what does it look like? When I posed these questions to people who study kids and culture, the answer I got was that while young people probably aren't watching the same things, a lot of them are craving similar experiences from the culture they consume, whether it's movies, YouTube, or, increasingly, video games. They want to feel safe, they want a sense of community, and they really, really want adults to leave them alone. Kids 'are still participating in culture,' said BJ Colangelo, a media theorist and analyst who has spoken about Gen Alpha trends. 'They just are making their own, and they're choosing not to share it with the rest of us.' Kids don't need mass media anymore Young people have never enjoyed being told what to like, and there's always been something organic and chaotic about their engagement with pop culture. At the same time, previous generations did have cultural arbiters and gatekeepers who controlled, to some degree, what they could access. For millennials and Gen Xers, 'magazines, MTV, and the radio were major outlets that were promoting and selling us what 'cool' is,' Colangelo told me. Young people could accept or reject what they were offered, 'but even with that choice, it was still being curated by editors, producers, DJs.' That was also true of culture aimed at younger kids, whose options were circumscribed by conglomerates like Nickelodeon and Disney. Parents also had a lot of involvement in — and veto power over — what kids watched. Your whole family could see what you watched on the TV in the living room, and parents could ban, or at least sneer with disapproval at, shows they found unwholesome. (I can't be the only millennial who looked forward to sleepovers as a time to watch R-rated movies after the grown-ups went to bed.) Today, media companies still try to manufacture hits, and sometimes they succeed. But kids no longer need to go through those companies to get their entertainment. And while parents can set screen time limits and put controls on children's phones or iPads, kids are notoriously great at getting around them. The result is a cultural landscape dominated by social media, one in which nearly half of younger kids' viewing time takes place on YouTube, TikTok, or other social platforms. You could certainly think of social media trends as shared cultural experiences within that landscape — indeed, many of the touchstones of youth culture that have received mainstream media coverage in recent years have been trends that managed to spill over into offline life, like the phenomenon of young people wearing suits to the film Minions: The Rise of Gru (incidentally, this trend appears to have been promoted by Universal Pictures, the studio that distributed Minions). Trends can be shared cultural experiences like the popular shows or movies of previous generations. The difference is that there are so many of them, and they pop up and flame out so quickly, said Jenna Jacobson, an associate professor of retailing at Toronto Metropolitan University who studies social media. 'Young people are experiencing a series of these micro mass events, which could be a sound or a meme, or a particular brand.' At the same time, 'social media allows many micro-communities to exist, which means that not everybody is seeing the same thing at the same time' — until something becomes big enough that it permeates everyone's feed, Jacobson said. Some of those big trends come from movies like Minions or Barbie, but a lot of them come from video games. It's no accident that A Minecraft Movie, one of the most popular films with Gen Alpha to date, is based on a massively popular game. In a survey of 10- to 24-year-olds last year by the Center for Scholars & Storytellers at UCLA, only 12 percent reported not playing games. 'More than a lot of things, it is a unifying culture,' Yalda T. Uhls, founder and CEO of the center, told me. 'When my kid, at 21, was hanging out with a 6-year-old, they were playing Minecraft together.' What kids want from media now Young people today crave a sense of connection, Uhls said: 'In a world where kids are not allowed to run outside, there aren't as many spaces for them, or they're overscheduled, gaming is a place they can gather.' It's no surprise that a generation of kids who spent formative years in lockdowns and remote school would feel starved for community. To me, another desire was more striking: The top goal for Gen Alpha and Gen Z, according to research by the Center for Scholars & Storytellers, is to feel safe. But if part of what kids want is to be safe from us, maybe we need to pay attention to that. This took me aback a little because a lot of what I think of as archetypal Gen Alpha content — Skibidi toilet, for example — can feel jarring, choppy, and a little scary. But Uhls points out that young people in 2025 are facing down climate disaster, rampant inequality, and active shooter drills at their schools. For them, gaming, and media in general, can be a source of comfort. And kids don't just want to be safe from the very real threats to their lives and livelihoods, Colangelo told me. They also want to be safe from the constant evaluation and judgment of adults. Gen Alpha 'has come of age in the social media surveillance state that we are all suffering under,' Colangelo said. 'So many of them already have a digital footprint that they never consented to because their parents posted them online when they were babies.' They're drawn especially to sandbox games and open-world games like Roblox and Minecraft because those games allow them to 'make their own realities and mini games and communities away from the watchful eye of Big Brother,' Colangelo said. 'It allows them to have something that they are in complete control over.' A Minecraft Movie was such a success not just because it was based on a game, but because it was truly for kids, not for their parents. 'So much of the mainstream culture right now is based on nostalgia,' Colangelo said. 'It's stuff their parents, their siblings, or even their grandparents like. Minecraft is very much their thing.' Adults often deride young people today for craving safe spaces, being afraid of anything new, different, or difficult. But if part of what kids want is to be safe from us, maybe we need to pay attention to that. I don't want to be too much of a Pollyanna — kids, like adults, are certainly capable of wasting time watching AI slop or its equivalent (don't ask me about the video my kid loves in which a toddler is inexplicably stung by a caterpillar). It's also the case that if kids are spending all their time within their microcommunities or on their highly-curated feeds, they're less likely to discover new artists or ideas, Colangelo pointed out. At the same time, a lot of kids' media habits can be understood as bids for autonomy, Colangelo said. They're really 'against things that are being force fed to them.' That's scary for adults who, sometimes understandably, want some say over what kids see and hear and play. But it's also a message about what we've taken away from a generation of kids, and what we might need to give back. What I'm reading The Department of Health and Human Services has said that its upcoming second MAHA report will include solutions for improving kids' health. But a draft report obtained by the New York Times does not include restrictions on pesticides, which experts say are necessary to reverse the increase in children's chronic disease. Oklahoma will require teachers from California and New York (and only those two states) to take a certification test showing they know 'the biological differences between females and males,' among other topics, before they can teach in Oklahoma. (The state's superintendent of schools previously announced that all teachers would need to incorporate the Bible into curricula.) Wired asked a group of kids what they think of AI. My favorite is Leo Schodorf, who tries to be polite to ChatGPT because, 'if they take over the world, and they're destroying everyone, then maybe they'll be like, this guy says please and thank you.' My little kid has been enjoying Zog, about a dragon who becomes an ambulance, kind of. Also, journalist Alyssa Rosenberg has started a new Substack all about children's books, and you can check it out here.
Elle
a day ago
- Elle
Netflix's 'House Of Guinness': The Shocking True Story Behind The Family Drama
When Netflix drops House of Guinness on September 25, viewers will witness more than just another period drama about wealthy dynasties. This is the story of Ireland's most iconic brewing family, whose real-life scandals, power struggles and generational secrets have never received the small-screen treatment — until now. The eight-part drama centres on one of the most consequential moments in the Guinness empire: the death of Sir Benjamin Guinness in 1868 and the explosive aftermath of his will reading. Benjamin wasn't just any brewery owner – he was the grandson of Arthur Guinness, who famously signed a 9,000-year lease on St. James's Gate Brewery in 1759, and the man who transformed the family business into a global phenomenon. His death didn't just mark the end of an era; it ignited a family feud that would determine the fate of the world's most famous stout. netflix Speaking to Netflix's Tudum, the show's creator Steve Knight described the series as fundamentally about 'a family who happens to be the inheritors of the biggest brewery in the world' facing a singular challenge: 'Don't screw it up'. The second priority? 'To make Guinness even bigger.' But behind this corporate succession drama lies a much more complex web of sibling rivalry, manipulation and strategic betrayal that defined 19th-century Dublin society. The Guinness family's later history adds an eerie dimension to the series. Over subsequent generations, the family became associated with what some have come to call the 'Guinness curse' – a pattern of tragic accidents, mysterious deaths and public scandals that plagued multiple generations. While these later tragedies fall outside the series' 1860s timeline, they cast a shadow over the dynasty's origins that Knight may well reference in the upcoming biopic. Knight admitted to Netflix that he is excited for audiences to meet the 'naturally wild' clan. 'I'm just in awe of their zest for life — their lust for life, often literally,' he added. In short, the story of the Guinnesses is one hell of a family drama. As the eldest son, Arthur carries the heaviest burden of expectation throughout the series. Knight describes Arthur and his brother Edward as 'the heart' of the series, bound together by their father's deliberate manipulation. Boyle, fresh from his acclaimed performance in Masters of the Air , perfectly depicts Arthur's challenge of balancing business acumen with family loyalty; his job isn't just running a brewery – it's managing his volatile brother while preserving their father's legacy. netflix In reality, after selling his share of the business to his brother, Arthur took over his father's seat in Parliament following the patriarch's death. He was voted in as a Conservative MP in 1868 for the City of Dublin when all of Ireland was part of the UK, and he held on to the position for just one year before it was voided after it was revealed that an election agent's unlawful efforts had gotten him the position. As it was ruled that Arthur was unaware of this, he was able to stand again as MP in 1874, an election he won under the leadership of Benjamin Disraeli, whom he was a staunch advocate of. As well as being a Member of Parliament, Arthur also followed in his father's footsteps by becoming a landlord of the several estates he owned in Galway. The middle brother represents the wild card in Benjamin's succession plan. Partridge, known to Netflix audiences from the Enola Holmes films, plays Edward as the more reckless Guinness sibling, whose 'lust for life' often puts him at odds with Arthur's more measured approach. Knight has hinted that the brothers were 'chained together' by their father's will for very specific reasons, suggesting Edward's unpredictability serves a purpose in the family's power structure. Edward took over the company following his father's death in 1868. He then bought out his brother Arthur's half-share in the brewery in 1876 and, aged 29, gained sole ownership of the Dublin company. Edward grew Guinness even further than his father Benjamin, multiplying the value of the brewery exponentially during his tenure as sole owner. By 1879, the Guinness company was brewing 565,000 hogsheads of stout; by 1886, it was brewing 907,000 hogsheads globally. netflix The entrepreneur was so successful that he floated two-thirds of the company in 1886 on the London Stock Exchange for £6 million, making him the richest man in Ireland. He then went on to retire at the age of 40 as a multi-millionaire and remained the largest shareholder in the now-public company. He also retained his position as chairman. Edward is also the man responsible for the construction of the Guinness Storehouse in Dublin, which is now a successful tourist attraction in the city. The Guinness daughter navigates a world where women's influence operates through marriage and social connections rather than direct power. Fairn, a rising star who made her mark in The Responder , portrays Anne as someone who understands that her value to the family extends beyond the brewery. In an era where women couldn't inherit businesses, Anne's storyline explores how female members of dynasties wielded influence through different channels. The youngest Guinness sibling faces the classic challenge of the family baby – finding his place in a hierarchy dominated by his older brothers. O'Shea, who captivated audiences in Normal People , brings vulnerability to a character who must prove himself worthy of the Guinness name while carving out his own identity separate from the brewery business. Perhaps the most intriguing character in the series, Rafferty represents, in Knight's words, 'how modern the story actually is'. Norton, beloved for his role as the menacing Tommy Lee Royce in Happy Valley , plays an Irishman whose relationship with the Protestant elite Guinness family promises to expose class and religious tensions. Knight's description of Rafferty as 'one of the most extraordinary aspects of this series' suggests that his character will drive much of the show's dramatic tension. netflix Norton's enthusiasm was palpable in an interview he gave to Netflix's Tudum: 'It's got beer. It's got this eccentric family. We've got these Steven Knight characters all kind of jostling and playing, fighting, f**king.' Described as 'determined' in early character descriptions, Ellen appears to be connected to the broader Dublin community affected by Guinness's influence. McCormack brings working-class authenticity to a character who likely represents the ordinary Dubliners whose livelihoods depend on the brewery's success. Her storyline promises to ground the series in the social realities of 19th-century Ireland. The 'seductive' Lady Olivia brings aristocratic glamour to the series. Galligan, known for Shadow and Bone , plays a character who appears to move in the same elite circles as the Guinness family but may harbour her own agenda. In an era where marriages were strategic alliances, Lady Olivia's presence suggests romantic entanglements that could reshape family fortunes. Gleeson returns to playing privileged antagonists after his unforgettable turn as Joffrey Baratheon in Game of Thrones . Byron's connection to Lady Olivia (presumably family) places him in the orbit of both aristocratic society and the Guinness empire, potentially serving as a catalyst for conflict between different elite factions. netflix As a family elder, Aunt Agnes represents the previous generation's values and expectations. Kirwan, a veteran of Irish drama, brings gravitas to a character who likely serves as both family conscience and keeper of secrets. Her position allows her to influence the siblings while maintaining some distance from their father's manipulative will. Connected to Ellen Cochrane (possibly as a relative), Patrick appears to represent the Dublin community that intersects with Guinness business interests. O'Hara's character suggests the series will explore how the brewery's decisions affected broader Irish society. McElhatton, another Game of Thrones alumnus, plays what appears to be a business associate or legal figure connected to the Guinness empire. His character likely handles the practical aspects of Benjamin's complex will and its implementation. Champion's role remains mysterious, but his name suggests someone connected to the entertainment or social aspects of Dublin's elite society. Wilmot brings character actor credibility to what may be a key supporting role in the family's social network. In short, no. In 1986, the Guinness brand merged with British food and drinks conglomerate Grand Metropolitan to establish the company Diageo, which is now the parent company of Guinness. While Diageo, which also owns Johnnie Walker and Bailey's, is now the owner of Guinness, the Guinness family does own a stake in Diageo, which was said to be worth around £200m in 2017, per the Irish Independent . The family also owns the 22,500-acre Elveden estate in Suffolk, which is used for agriculture. The current head of the Guinness family is the Earl of Iveagh. House of Guinness will premiere on Netflix on Thursday, September 25. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE . Daisy's 'Phenomenal' Drama Is Now On Netflix Netflix Has Renewed 'Dept Q' For Season 2 Naomi May is a seasoned culture journalist and editor with over ten years' worth of experience in shaping stories and building digital communities. After graduating with a First Class Honours from City University's prestigious Journalism course, Naomi joined the Evening Standard, where she worked across both the newspaper and website. She is now the Digital Editor at ELLE Magazine and has written features for the likes of The Guardian, Vogue, Vice and Refinery29, among many others. Naomi is also the host of the ELLE Collective book club.
